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Here's what happens this time of year. I become extra thankful. Actually, this is something that happens regularly throughout the year, but right now I'm blogging about it.

I have been an agent for 15 years. It's a job I've always been proud of and a job that I have never really felt was a job. Sure I get to read for a living and sure I get to be the one who helps a great book find its way into the hands of thousands of others, but one of the unexpected side benefits of my job is the people. I really, truly adore my clients.

Some of my clients have been with me for nearly 15 years, others for only 15 months and a few even less. No matter how long we've been together, each client has a way of bringing a smile to my face, not just because of the great books they write, but because I really enjoy spending time with them. I love tweeting silly comments or exchanging emails about grandbabies, kids, books you can't miss, travel, recipes, dogs, home repairs, antique hunting, the weather, and anything else you can think of.

My clients have a way of publicly thanking me through the acknowledgements in their books. Some have even dedicated a book to me. Those words mean the world to me and each time I read them I feel like it's my first book all over again. Guaranteed that an acknowledgment or dedication will make me tear up. I wish I had a way to dedicate or acknowledge each of them for how much joy they bring to my days. But truly, every day these people are what give me a holly jolly feeling.

I’ve been writing about making money as a freelancer for well over a decade now. I have written five books, dozens of articles and hundreds of blog posts about the subject. I get many questions, and lately many of those have been about the field of ghostwriting. What is ghostwriting? How lucrative is it? How do I get started?

The fact is that any competent writer can ghostwrite as well—as long as you understand the additional responsibilities that come with ghosting. There’s a growing market for talented ghostwriters, so I encourage freelancers to consider whether their personality, background and experience make you a good fit for the field.

Your clients’ needs may vary, but I believe that successful ghostwriters must have the following attributes:

Confidence. Confidence is a key to ghostwriting success for several reasons. First, a confident ghost is more likely to get clients—when they trust in your abilities, they’re willing to hire you to write their book or blog post. Second, your confidence in yourself will make your job easier when it comes to creating a piece of writing that sprang not from your own ideas and brain, but from your client’s. Finally, you have to have enough confidence to recognize that you can write without a byline—and that any praise your piece, whether an article or book, receives will be directed to and accepted by your client—not you. If that idea makes you uncomfortable or resentful, ghosting isn’t for you.

Creativity. It’s a rare client who simply wants to dictate his thoughts and have me write them up for him. (And that’s not really ghostwriting, but transcribing.) A ghost does much more than that—she may be called on to conceptualize, organize, research, edit and rewrite. As a freelancer, you’ve no doubt come up with story ideas, organized articles or book chapters and come up with new approaches to subjects you’ve written about that before. You’ll use those same skills when you ghostwrite.

Flexibility. When you write your own piece, you do the research and writing. When you ghostwrite for a client, though, you may need information—whether written or in the form of phone, email, or in-person interviews—directly from that person. If he’s not available when you need him, you may have to push back a deadline or move forward on another part of the project that doesn’t require his immediate input. If you’re working per your client’s deadlines (and not, say, for a traditional publisher), then he may not feel the pressure to complete the project—which means you fall behind (and don’t get paid for your work). Understanding that when you ghost, you may at the whim of your client is key to ghosting.

Ability to organize. If you’re working on a short project, this is less important. But consider, for example, ghosting a book. That requires that you organize the information you receive from your client, research you perform on your own, different drafts of chapter, and other relevant information. I like to use manila folders for book projects, and set up a folder in Word to hold all of the various research and chapters; your methods may vary but the key is to manage information, drafts, and emails in a way that works for you.

Publishing knowledge. If you’re ghostwriting shorter pieces like articles and blog posts, this is not a great concern. However, if you’re going to ghostwrite books for clients, you should have some books under your belt already. If you have published your own books with traditional publishers, you have an understanding of the industry that will benefit your clients. And if you’ve self-published with a print-on-demand, or POD, company, that knowledge will help clients who choose the same option. Ghosts who have done both—traditionally published and self-published (whether in print, or with e-books, or both)—have a huge advantage over ghosts who are great writers but know little about publishing today. In my opinion, the more experience you have with books, the more valuable you are to a client, and the more potential you have as a ghostwriter.

Ask yourself honestly whether you have these five essential attributes. If the answer is yes, then consider adding ghosting to your freelance repertoire.

By Jan Willer

Social media and other technologies have changed how we communicate. Consider how we coordinate events and contact our friends and family members today, versus how we did it 20 or 30 years ago. Today, we often text, email, or communicate through social media more frequently than we phone or get together in person.

Now contrast that with psychotherapy, which is still about two people getting together in a room and talking. Certainly, technology has changed psychotherapy. There are now apps for mental health issues. There are virtual reality treatments. Psychotherapy can now be provided through videoconferencing (a.k.a. telehealth). But still, it’s usually simply two people talking in a room.

Our psychotherapy clients communicate with everyone else they know through multiple technological platforms. Should we let them “friend” us on social media? Should we link to them on professional networking sites? Is it ok to text with them? What about email? When are these ok and not ok?

Some consensus is emerging about these issues. Experts agree that psychotherapists should not connect with current or former clients on social media. This is to help preserve the clients’ confidentiality. Emailing and texting are fine for communicating brief messages about the parameters of the session, such as confirming the appointment time, or informing the psychotherapist that the client is running late. Research has shown that emotional tone is frequently miscommunicated in texting and email, so emotion-laden topics are best discussed during the session.

How do we learn about new people we’ve met? In the past, we’d talk directly to them, and maybe also talk to people we knew in common. Now everyone seems to search online for everyone else. This happens frequently with first dates, college applicants, and job applicants.

Again, contrast this with psychotherapy. Again, two people are sitting in a room, talking and learning about each other. When is it ok for a psychotherapist to search for information about a client online? What if the psychotherapist discovers important information that the client withheld? How do these discoveries impact the psychotherapy?

No clear consensus has emerged on these issues. Some experts assert that psychotherapists should almost never search online for clients. Other experts respond that it is unreasonable to expect that psychotherapists should not access publicly available information. Others suggest examining each situation on a case-by-case basis. One thing is clear: psychotherapists should communicate with their clients about their policies on internet searches. This should be done in the beginning of psychotherapy, as part of the informed consent process.

When we’ve voluntarily posted information online–and when information about us is readily available in news stories, court documents, or other public sources–we don’t expect this information to be private. For this reason, I find the assertion that psychotherapists can access publically available information to be more compelling. On my intake forms, I invite clients to send me a link to their LinkedIn profile instead of describing their work history, if they prefer. If a client mentions posting her artwork online, I’ll suggest that she send me a link to it or ask her how to find it. I find that clients are pleased that I take an interest.

What about the psychotherapist’s privacy? What if the client follows the psychotherapist’s Twitter account or blog? What if the client searches online for the psychotherapist? What if the client discovers personal information about the psychotherapist by searching? Here’s the short answer: psychotherapists need to avoid posting anything online that we don’t want everyone, including our clients, to see.

Ways to communicate online continue to proliferate. For example, an app that sends only the word “Yo” was recently capitalized to the tune of $2.5 million and was downloaded over 2 million times. Our professional ethics codes are revised infrequently (think years), while new apps and social media are emerging monthly, even daily. Expert consensus on how to manage these new communications technologies emerges slowly (again, think years). But psychotherapists have to respond to new communications technologies in the moment, every day. All we can do is keep the client’s well-being and confidentiality as our highest aspiration.

Jan Willer is a clinical psychologist in private practice. For many years, she trained psychology interns at the VA. She is the author of The Beginning Psychotherapist’s Companion, which offers practical suggestions and multicultural clinical examples to illustrate the foundations of ethical psychotherapy practice. She is interested in continuing to bridge the notorious research-practice gap in clinical psychology. Her seminars have been featured at Northwestern University, the University of Chicago, and DePaul University.

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I do not know what is great about that first line. Looks like either romance, hyper action, or both combined. I actually curled my lip and turned away on reading it. Not sure I'd even read the whole paragraph.

Are we at that point we have to have romance at the beginning of every novel for an agent to be interested?

There's a wonderful post at Crimespree by Steve Ulfelder on Five Albums That Changed My Life. I always like getting a peek into my clients lives this way, but the real revelation was the last album.

Here's what Steve says:

Joe Ely – Satisfied at Last"This is art by a full-grown man examining his life with, by turns, bemusement and sadness and pride. Ely lists his regrets great and small; he considers God and the afterlife; he tells stories with economy and heart. Every number is perfect.

Here’s the highest compliment I can pay: If Conway Sax, my series protagonist, were one hell of a talented musician, this is the record he would write. In fact, I hereby declare “I’m a Man Now,” the album’s next-to-last song, Conway’s theme:

I’m a man now, I ain’t no kid

I done some things I never should have did

I paid the price – my weight in pain

I’m a man now, I’m free of shame

I’ve been a runner for decades. I was once pretty serious about it, but I find myself running less and slower. For the past few years, if you want the truth, I’ve done nearly all my running at the local middle-school track, and only in warm weather.

So on the one hand, my runs are a sad sight: a fiftysomething man scuffling around, logging 12-minute miles.

But boy, do I love that track, my town, the view. There are the pretty ballfields, of course, and a wetlands area below. There’s the handsome school itself. And on every lap, I catch a glimpse of the steeple of my longtime church.

To run laps in a place you love. To run them slower and slower as the years pass. To reflect and recall and regret as you run, and to laugh at yourself about all of it.

I listen to Joe Ely as I run. I believe he would understand."

Steve's next novel in the Conway Sax series SHOTGUN LULLABY will be published on May 14. You can pre-order it here

My husband introduced me to Joe Ely's music when we met 17 years ago, back in the olden days when people made mix tapes for their girlfriends. Several of his songs are forever linked to those tapes in my mind now.

Both of us can't wait for the next Conway! There will be fighting over the kindle. No there won't. I always get to read first. :)

In 2010, I was invited to try again. This time I wrested the planning from the travel agent, and booked myself on a flight to Seattle, then on to Anchorage on the Monday before the conference. By god if there was going to be a repeat of 2009, I was going to be ready!

Of course, there wasn't. I got to Anchorage five days before the conference. The conference organizers, kind and generous souls that they are, offered to take me on explorations, trips, tours, hell, they'd have found polar bears to pet if I'd asked.

Instead, I closeted myself in my hotel room and WORKED! I kept telling them I wasn't there for a vacation, only to make sure I actually GOT THERE.

And it was absolutely worth it. The Alaska Writing Guild conference was where I met Lee Goodman and first read his novel INDEFENSIBLE.

I will never forget the moment I looked up from reading his manuscript and realized "holy shit, this guy is the next Scott Turow!"

In this video blog post, I talk about questions you should ask a potential client for book illustration jobs, whether they be working at a publishing house, or a self publishing author. It is important to have good communication to weed out potentially bad jobs, and to know exactly what the client is expecting.

I missed the original article by Gary, so thanks for giving us the link. He explained a very complicated idea, clearly. As the proud parent of a physicist at CERN, I know how hard this stuff is to understand. I need a WDGS bracelet too.

"The excitement is something of a media beat up, because that scrap was first translated by a German scholar about thirty years ago. Nobody got too upset back then."

That's one of the things I found amusing about the "Da Vinci Code." The idea that Jesus and Mary Magdalene married and had children had been around since...well, Jesus and Mary Magdalene. Why was Langdon's mission seen as a potentially Church-shaking revelation? It had been revealed, and ignored / discredited for centuries.

I'm not sure I'd trust that dodgy Gary character on Biblical Coptic scholarship, but here's where I have an edge: a writer has to pick up on all sorts of unusual topics really quickly, and then write characters who are supposed to be experts on the subject.

I recently received a reply from a disgruntled querier who was unhappy I hadn't taken enough time to consider his query. He knew I hadn't taken enough time because I'd said no to it.

Contrary to his assumption, I'd said no because (1) he didn't tell me what the book was about and (2) later in the query it was clear he was off his rocker.

Which brings me to the value of a query in addition to all the stuff I've been ranting about for years (plot mostly.)

I'm also getting my first sense of whether you're someone I want to work with.

Here's a list of the things I really want to find in prospective clients. I can't alway tell from a query or manuscript if a writer meets these criteria, but it's the starting point:

1. They think I'm the cat's pjs. In other words, they've read my blogs; they think I'm funny. They think I'm good at my job. They want to work with me, and when I call to chat about the book, they're pleased.

This is not to say you should be slavishly effusive cause that makes me insane. I just want you to want me! Not "an agent' but THIS agent.

2. They don't interpret everything negatively. Or if that's their first reaction, as it is with most of us, they've learned some balance and perspective. Queries are rejected for lots of reasons other than "it sux." Books don't sell for lots of reasons other than "it sucked." Agents aren't able to sell things for lots of reason other than "they're idiots."

3. They've got a sense of humor. Almost everyone on my list has a wicked sense of humor. I know this cause we laugh at the same things and crack each other up. A couple of my clients are so damn funny I barely speak when I'm around them cause I'm too busy trying not to pee my pants from laughing.

4. They're ready for the work. They don't rise from their beds bright eyed and bushy tailed like some sort of Stepford/Pollyanna doll. (That's AFTER the coffee IV) But they are prepared to work and do what needs to get done. They may not like it much (promotion is pain) but they're eager to have careers and understand this is one of the requirements.

5. They read. They read a LOT. They read their fellow client's books, they read widely in different genres and they read things they end up telling me about and make me want to read them too.

6. They're generous to the writing and publishing community.

7. They're neurotic and crazy and brilliant. All in the best possible way. They aren't perfect, but they are Fabulous.

You can tell a lot from what people tell you about themselves in a query, and how they respond to rejection (and what they say in blog comments!)

Because you have rejected all my queries, nailed your office door shut when I showed up and stand ready with pots of boiling fish oil just in case I breach the helm, I thought I communicate just how prospective a client I really am.

1.I find it interesting that a modern woman such as you is so enamored by a 1920’s term relating to pussies on her sleepwear.

2.I’m not a negative person; I just lack confidence in my abilities to communicate in an unenthusiastic way.

3.Write a 100 word short story using the words, ‘coffee, spewing, booger, giggle and bladder and I will send you a 36 pack of Depends.

4.If you look up ‘eager’ in the thesaurus, ‘excited’ comes up. Oh, I’m sorry I thought we were talking about George Clooney.

5.I read a lot too, I’m up to Psalms.

6.I would be very generous, not just with money either, I would offer my very tasty cupcakes to the little guy in the basement of the New York Times who compiles the best seller list.

my favorite quote of yours, I would be honored if you were my agent however, I know you don't represent the novels I write, so instead I look forward to participating in your wonderful sometimes challenging contest, and also waking up at night with intense tremor because I had dreams of sharks lol jokes aside you give so much to aspiring writers and I hope you can tell by this comment I am not kissing ass but being honest you are so good at what you do and that individual that said those awful things did not research you enough to see all that you do to help writers improve their craft simply looking at your query examples is a good start to understanding the craft but you also offer great advice and your tough but honest. Life sometimes has too much B.S so its like a breath of fresh air when someone is genuinely honest. I wish you plenty of success and keep doing awesome things for your clients and writers.

Keisha took my favorite comment. "Not an agent, THIS agent. Thanks for giving so much information here, and for a glimpse into the real world of an agent. I laugh out loud then shake my head at what some people say to you.

I can only feel sad for those who get feedback from you, whether query or pages, and don't take it for the great learning opportunity it is. Pitching you at Crimebake a few years ago and getting your feedback on my ms helped me grow as a writer. My only regret is not sending you a bottle of scotch or the like as thanks, but was worried you might think me an unbalanced stalker ;)

I never know what to share about myself in a query. I'm a boring person, but I do own a beach house, I married into a family with ties to a major spirit producer, and I'm a fifth degree black belt in taekwondo. A quiet retreat, free booze, and bodyguard protection - what agent is going to be interested in that?

Michael- I can assure you that travel is rarely an issue. I go through long stretches of time where I can't even remember how long it's been since I wore pants that had a zipper. Book tours are rare. However, published authors are expected to participate in marketing- blog tours, social media, doing local library events etc.

I can't speak for Janet- but most agents/publishers hope that you have more than one book in you as it takes time to build a career in this business.

My next step with my book is to save up for a copy editor, but then what? I am trying to decide should I try to find an agent or go direct to e-publishing.

I can handle the e-marketing part, but going grocery shopping is difficult for me. Among my problems is positional blood pressure (I am allergic to gravity) that has caused five mini-strokes. Add my age and other issues and I wonder how brilliant my book has to be for it to be worth an agent's time and effort. I'm not sure I can handle the pressure to be that brilliant.

I used to try to keep my Query all business never sharing personal details. It's good to know a little personality is okay (as long as that personality doesn't belong in a padded room). Thanks for the tips!

Ummm...I am that annoying person jumping out of bed at o'dark thirty, singing loudly, laughing at my own jokes and headed for a run. I'm perniciously perky, perennially pleasant, ungodily optimistic. But I'm also sawin' logs on the couch by the time Jeopardy comes on, so there's that.

It seems artists and writers are similar. There are artists that think their gallery is out to get them, use and cheat them and there are those who would eat turds and lick hineys and those that are happy to have a gallery. I think it's the distinction between professional and dilettante.

When I first discovered your blog QS I was surprised that it was female writer. Then I had the idea to offer you a free stay in my apt in Florence. I invited several artists to do the same, no writers or agents except for some journalists. But then it seemed like bribery, not a crowbar. There aren't any writers conferences in Florence, why would you be enticed.

We Island Stepford Wives--who never rise before noon, and then only with a vodka-laced fruit juice in hand--have a fun little game we like to play. Because we're marooned here for two years without the American creature comforts we love, we liken the things we miss with how desperate we are to get them.

Example: "I would blackmail a government official to see the new Bourne movie." Or, "I would murder an immediate family member for a Taco Bell Chalupa."

So, I hope you don't find it weird when I tell you that I would literally fire a baby seal out of a cannon if you would be my agent.

Now I sit here having coffee before church, reading yet another great blog and I'm tempted. By what? To find a way to turn the college student facing paranormal stuff in my MS into a gum shoe PI. Then I could honestly query you.

I just wanted you to know that I am one of your faithful followers who truly enjoy reading your blog posts. As a writer, there is nothing within my work that would be of interest to you as an agent, but as an agent I find your posts to be everything I need as a writer.

That being said, I wrote a post today in your honor, highlighting some of your wonderful writerly wisdom and I hope some of my readers will join the growing circle of people who respect and appreciate all you have done for the writing industry!

It’s a rare year in which a superabundance of fine horror novels — novels that reward rereading — appears. That said, most years bring at least a handful of novels whose titles can stand to be mentioned alongside Matheson’s I Am Legend, Jackson’s The Haunting of Hill House, and King’s The Shining. To this year’s list, add Laird Barron’s The Croning.

Corby, Gary. The Ionia Sanction. Minotaur: St. Martin’s. Nov. 2011. c.304p. maps.ISBN 9780312599010. $24.99. M Mix one part ancient history, one part clever and contemporary banter, and one part action, and you have a top-notch crime caper. Corby brings back his dynamic crime-­detecting couple, Nicolaos and Diotima, for their second outing (after The Pericles Commission). Pericles dispatches Nicolaos abroad to Ephesus to return a slave girl who’s really a government official’s daughter and to retrieve a stolen document that should explain why an Athenian diplomat was hanged. The arrogance of Athenian native Nicolaos is quickly dashed when he’s confronted with new customs in this region controlled by Persia. Luckily, the charming Diotima paves the way. Layers of intrigue pile up, and our duo can see that time may run out before they can smuggle critical information—and get themselves—back to Athens.VERDICT The mix of real history with a crime romp makes Corby’s sequel go down easily. The author deftly concocts a Mel Brooks type of history. Highly recommended for those looking for humor with their crime detecting.http://www.libraryjournal.com/lj/reviews/genrefiction/891460-280/mystery_reviews_september_1_2011.html.csp

Nominations for the Agatha Awards have been announced and I gotta tell ya, I'm pretty much thrilled to bits to see Stephanie Jaye Evans in the Best First category! And what LOVELY company she has there!

Agathas are part of the Malice Domestic convention, a convention for readers of traditional mysteries. It's a wonderful event, held every year around the same time, near Washington DC. If you love to read delicious cozies, wickedly charming procedurals, and just good books in general you'd have a good time here! (This isn't a craft conference--no panels on how-to. It's just your favorite authors and more!)

Best First Novel:Faithful Unto Death by Stephanie Jaye Evans A Killer Read by Erika Chase A Scrapbook of Secrets by Mollie Cox Bryan Iced Chiffon by Duffy Brown Lowcountry Boil by Susan M. Boyer

Best Novel: The Diva Digs Up the Dirt by Krista Davis A Fatal Winter by G.M. MallietThe Buzzard Table by Margaret MaronThe Beautiful Mystery by Louise PennyThe Other Woman by Hank Phillippi Ryan

Best Non-fiction:Books to Die For: The World's Greatest Mystery Writers on the World's Greatest Mystery Novels by John Connolly/Declan Burke

Best Children's/Young Adult Novel:Seconds Away by Harlan Coben The Edge of Nowhere by Elizabeth George Liar & Spy by Rebecca Stead The Code Busters Club, Case #2: The Haunted Lighthouse by Penny Warner Code Name Verity by Elizabeth Wein

Best Historical Novel:The Twelve Clues of Christmas by Rhys BowenDandy Gilver and an Unsuitable Day for Murder by Catriona McPherson Murder on Fifth Avenue by Victoria Thompson An Unmarked Grave by Charles Todd Elegy for Eddie by Jacqueline Winspear

Since joining the board of directors at our local historical museum, my views on memoirs, family histories and even diaries have changed tremendously. I'd always thought of these things in one of two ways: either you had to live a big, important life to be worth writing about (aka, selling) or it only mattered to your family. Now I've seen how these personal accounts of a normal life can be a treasure trove for historians.

Rather than blathering on, I'm going to refer you to one of the masters, William Zinsser, whose book On Writing Well is considered a touchstone for non-fiction writers. This article from The American Scholar is a wonderful read: How to Write a Memoir

From that article I condensed this nugget, a bit of advice any writer in any genre should heed:

"When you write...don't try to be a writer....Be yourself and your readers will follow you anywhere. Try to commit an act of writing and your readers will jump overboard to get away."

So write your story, large or small. You never know what value they will hold for those to come.

could not have said it better myself (which is of course why Kari is the writer, and I am the ...not)

Wow. Beautiful. Letting go is often the hardest part for the self-conscious, under-confident writer type. Perhaps that is why our best writing stems out of tragedies; then we are not trying to write well or to hide ourselves - the raw emotions come out unabated and we are left with nothing but our humanity on paper.

A few years ago my husband called me and said, "I'm standing in the dumpster behind the Baptist church. Is Boy Scout stuff any good?" (Yes, I got those calls often, why do you ask?)

I rushed down there and discovered that the church had cleaned its basement and loaded up the dumpster. Along with all the Boy Scout stuff (and yes, it is good, I sold one patch for $125), I found a little gem.

In the 1930s, a church mission group had done a European tour. In a small black notebook was a hand-written diary of the trip, including watching the famed Passion Play in Germany. It was an amazing read. I sold it (because that is what I do) to a collector who will make sure it is shared and kept safe.

It is the little stories that make up our culture and collective consciousness. I am always encouraging people to get their elderly relatives to tell their stories.

Natalie Goldberg's 'Old Friend From Far Away' is a great companion piece to Zinsser's. I used both when writing my memoir...and when I teach a memoir class. Certainly, EVERYONE has amazing stories to tell about their life. It's about searching for, finding and getting them on the page.

In these days of overhyped, over-marketed, multi-volume mega-series, it's hard to find a series of novels that truly justifies their existence. It's all about branding and stretching stories out to 1000s of pages for purely economic reasons is, sadly, the norm these days.

Patrick Lee's incredible Breach trilogy is the exception to the rule.

In three of the best edge-of-your-seat thrill rides this reader has ever had the pleasure to read, Lee gives us a New Pulp trilogy for the ages. The novels are The Breach, Ghost Country and Deep Sky and all three are lean, mean, thrill machines you do not want to miss.

I'm dancing, because I enjoyed these books and thought they were well written as well as interesting and fresh. I gnashed my teeth at the end of the 3rd volume but saw no other way for the story to end.

I read these last year - a friend of mine recommended them so I downloaded them onto the Kindle. Loved all three of them. Great storytelling, I could see everything in my head as if I was watching a movie (and they would make GREAT movies). k

There's an old-fashioned compliment to actors--"I'd listen to him read the telephone book aloud" that I first heard applied to Richard Burton.

The version I apply to writers is: I'm enchanted by their dedication and acknowledgements page.

In honor of the publication day of TRICKSTER by Jeff Somers, here's what reminded me of that compliment recently:

Acknowledgements

Every novel has a team of people behind it. First of all, and most important, there is the author, the person who actually wrote it, that is to say, me.

I’d like to start off by thanking myself for all those poor decisions in life that have conspired in complex and unknowable ways to bring me to this junction in my life.

Behind every author is a person who whispers encouragement and dire threats in his ear as he writes, and for me that person is and has been my lovely wife, Danette, to whom I owe everything and who knew I would sell this book, this book you are now holding in your hands, even before I had actually written it— such are the powers my wife possesses. —Let’s see how many commas I can squeeze in here, want to? Commas are fun, and underappreciated, much like writers.

Every author, the guy who actually writes the book, that is, me, has someone in a windowless room somewhere collecting the pennies that cascade in from our crime syndicates and book sales, and also who buys the author drinks, and that person is my redoubtable literary agent, Janet Reid.

Every author, that is, the guy who actually writes the book, which is to say, me again, needs hooligans who tempt him from serious work and encourage him to consume adult beverages in lieu of pious labor, and my hooligans—aside from my aforementioned literary agent, who on many occasions incapacitated me with drink when I should have been home tapping words into a hard disk—were fellow authors Sean Ferrell and Dan Krokos, who so often suggested I spend my time drinking curated whiskeys while viewing Internet celebrity gossip sites, supposedly in an ironic manner, although I suspect the irony was a pose, as I really do enjoy celebrity gossip.

Above and beyond all of these, of course, Olympian and leviathan-like, stands the man who actually signs the contract that sends those pennies cascading to be collected in unused mason jars by my aforementioned literary agent on behalf of me, the author, the guy who actually writes the book, and that person is, of course, my editor, Adam Wilson, whose suggestions and ideas for this book were disturbingly intelligent and interesting, and I thank him for it while simultaneously becoming enraged that anyone might contribute something to my story that I myself did not think of.

Whenever I express these feelings of rage to my aforementioned literary agent she pours two glasses of good Scotch, and at first I think she’s going to have a belt with me but then I slowly realize these are medicinally intended for me. And she’s right, I feel lots better.

Of course, that's Jeff Somers, from his new book TRICKSTER:

Praised by the Guardian for stories that are “exhilarating . . . powerful and entertaining,” Jeff Somers returns with a darkly original urban fantasy series featuring a cadre of mages operating just under the radar of human society.

Magic uses blood—a lot of it. The more that’s used, the more powerful the effect, so mages find “volunteers” to fuel their spells. Lem, however, is different. Long ago he set up a rule that lets him sleep at night: never use anyone’s blood but your own.

He’s grifting through life as a Trickster, performing only small Glamours like turning one-dollar bills into twenties. He and his sidekick, Mags, aren’t doing well, but they’re getting by. That is, until they find young Claire Mannice— bound and gagged, imprisoned in a car’s trunk, and covered with invisible rune tattoos.

Lem turns to his estranged mentor for help, but what they’ve uncovered is more terrifying than anybody could have imagined. Mika Renar, the most dangerous Archmage in the world, is preparing to use an ocean of blood to cast her dreams into reality— and Lem just got in her way.

15 Comments on "I'd listen to him read the phone book aloud", last added: 3/1/2013

WOW--I've certainly read novels that make me want to write at a higher level, but never an acknowledgement! Thanks for sharing--I think I'll be bidding in my own auction when this goes up on Pens for Paws with Sean Ferrell's Man in the Empty Suit.

Yes, blogging about your clients' books does translate to sales. I live 100+ miles from the nearest bookstore and am desperate for something new to read.

People say bad things about internet sales over in-person book buying, but I'd be unable to buy almost anything without it. And now Mr. Somers has yet another sale because of the power of the internet.

I saw a recent documentary on monitors. They are quite disgusting, and big, and strong, and would probably eat those poor ox. Not sure a random, chance encounter with IT would be worth the picture of THAT.

I am noticing a growing obsession of yours to covet pictures of virtually anyplace closer to the equator than New York.

It might just be time to consider making the move to South Florida. It's my understanding that if you move there from New York City and meet the criteria of being of retirement age, and having rarely driven a car of your own, that the state will issue you the largest sedan that money can buy to take onto the Turnpike at 90 miles an hour.

Before I was published, I thought of writing as a calling. My stories were my art. I still think these things, but now I understand that writing for publication is also very much a business. My stories are products I’m peddling.

Does that sound harsh? It does grate on me a little, but I try very hard to adopt this point of view when I’m dealing with the business side of publishing. Besides making general good sense, it helps cut down on the psychic wear and tear as my “baby” is evaluated and changed by the publishing/review process.

Let’s look at The Call first, shall we? When I got my first offer, I was ecstatic. My life-long dream had come true. A real, live editor wanted to buy my story. I wouldn’t have paid her to publish it, but beyond that I wasn’t much concerned about money.

Mistake number one. Money is very important, as my lovely editor on the other end of that phone line knew very well. If I’d been agented at the time, Jessica would have pointed that out--but if I’d been agented, the editor would have called Jessica, not me. (When I was touring my publisher’s office with my editor and Jessica once, I asked about foreign copies, saying I was more interested in seeing the covers than the money. Jessica politely pointed out that I was also very interested in the money.)

It’s an editor’s job to acquire manuscripts that will sell and make her publishing house buckets of money. Maybe little tiny buckets given the current economy, but the goal is definitely to land in the black. Yes, she should love the story, but chances are--at least in commercial fiction--she’s offering to buy your manuscript because she thinks it will sell well. Jessica or Kim would know better than I since they’ve been editors, but I imagine an editor’s career is on the line somewhat with every book she acquires. Buying one or two manuscripts that sink like a stone when tossed into the bookselling pond probably isn’t the end of the world, but an editor with enough such stones to build an underwater castle will likely soon be looking for other work.

When calling to offer for your book, the editor may well start off telling you what a wonderful writer you are and how wonderful your book is, but before she hangs up, she’ll mention the advance she’s willing to offer and that might not be so very wonderful. This is where the real business fun begins if you’re a good negotiator. (And this is one reason I have Jessica--I’m more like the dog you meet that will just turn over on her back to get her belly scratched. I am NOT a negotiator.) You won’t be talking about character development or pacing, but about such very important business-y things as advance amount and payment schedule, royalty rates on print and e-book formats, delivery dates, and option clauses. If you reach an agreement, then you’ll get a contract in the mail. Chances are reading that will make your head hurt. (And even though I have Jessica, I always do read my contracts very carefully.)

20 Comments on The Business of Writing by Sally MacKenzie, last added: 6/1/2010

Holy Cow! Thank you so much for this insight into the 'business' side of it all. Most of these things had either never occured to me or I just didn't know where to look for information. I found this really really interesting. Thanks so much for sharing!

anita said, on 6/1/2010 5:30:00 AM

Thanks so much for the wonderful advice, Sally, and for the insight into the world of deadlines and career planning. Very informative post!

Thank you for this great post. Most business-related posts come from from agents, with a few from indie publishers. These are informative but often miss the author's POV. Most author posts cover the creative side only. It's nice to see one that balances both sides of what is, after all, a business.

I been in the art world for many years and found some of the most talented artists are still working their day jobs because they are focused 100% on the creative side. Those who learn the business side - just as they had learned the creative side - are financially successful. Beyond that, marketplace demands also forced them to grow as artists. We're all a bit lazy. Having something external hold our noses to the grindstone helps us in the long run.

Thank you

Anonymous said, on 6/1/2010 6:09:00 AM

I learned most of that from being a blogging book reviewer, through observation and interacting with authors.

One thing though. If you've been slugging your way through Queryland for a while and the economy goes into the toilet, you're going to move into the old proverb-

I'm stacking up requests for Fulls right now and it's kinda scary. What if an offer comes from a reputable ePublisher while a Full's still out with an uber-agent? I can't help but think, "Hey, that agent's going to reject anyway, if she responds at all."

Thanks so much for this post. It's always helpful to hear, first hand, what an author has to tackle after their first call. It gives us an invaluable peek at what to expect...especially regarding the business side of things.

I think all college students should be required to take a few business classes, regardless of their major. It doesn't matter if you plan on being an artist, doctor, teacher or writer...there's a business aspect to all professions.

I have to say my business side is constantly evolving. I admire writers who embrace all the business stuff enthusiastically from the get-go, but I'm a little more of a foot dragger. I think everyone has to strike the balance that's right for them. We can't ignore that we are CEOs of our small businesses, but we still have to protect our creative wells. For example, blogging may make good business sense, but I can't maintain a regular blog and still get my contracted writing done. Others can.

Anonymous 9:09, I don't know how it works with offers from epublishers--it used to be that agents rarely were involved in those deals, but that could have changed--but when I got an offer from my NY publisher, I called the agents who had expressed interest in my work. Jessica moved quickly to read my published book and offered representation. If you don't have an agent, I'd suggest having a literary attorney look over any contract before signing as it is possible to severely tie up your career with a legal false step. I didn't do that with my first contract, but I got lucky. Relying on luck is generally not a great business plan.

Thank you so much for all this insight. I'm still a student, and trying to work on my first novel. I'm pursuing an English major but I may consider taking some business classes if I can. Now it's time to decide whether to give up from intimidation or press ahead with this newfound knowledge. I hope to succeed from the latter! Thanks again.

Sally, you have nailed SO MANY important points in this post! I wish I'd seen something just like this before I sold my first book. It's all excellent advice, but when you figure out "stuff management," please let me know what works?

Samantha, don't be intimidated! Write the book--and then write the next one and the next one.

Kate, yeah, I'm drowning here. I'm supposed to get two sets of author copies this month--the antho that's coming out in mass market (it was in trade last year) has arrived, but the Viscount is still missing. And all those books we get at conferences! I'm having to steel my heart and give most of them away unread.

Kristan, the boilerplate thing really twisted my brain around at first until I finally got it sorted out. I was talking to agents and it was like we were both speaking English, but we weren't really speaking the same language. It makes sense, though, now that I get it. An agency takes the publisher's basic contract--the version most favorable to the publisher--and works at changing the clauses to better serve a client. When the next client comes along, agency and publisher don't go back to square one, they start at square two. Unagented author starts at square one and, in my case at least, probably doesn't have have the business sense or experience to even recognize the issues.

Great advice, thank you! I'll probably have to hunt this down years from now when I get published! It's interesting, though, to see what it's like once you're at that point in the road, and it's good to know what I have to look forward to!

What you said about looking at your writing from the business point of view is great advice. I was struggling with this exact thing. I started getting back a few rejections from the queries I sent out, and I didn’t handle it like I thought I would.

I knew I would get rejections; I even made a special folder to store them in. It was just a different ballgame when they actually started rolling in. I guess it felt like a direct attack on the material, which did nothing for my confidence in my work.

So I just told myself, “Self. Those agents are way swamped. They don’t have time to read every query, so they have to form reject a few. Just remember, that rejection letter is not a direct attack on your work; it’s a reflection of the agent’s taste, client load, and whether or not they were hung over from drinking wine all night while reading great fulls.”

When I was 23 I too 'sold by accident' my first book; without an agent...I was without a clue.

I thought that moment was my brass ring, providing me unending rides, to a writers life. Duh !

With my advance I purchased a used White Cadillac that drank more gas than an uncommitted member of AA and I bought a white German Shepherd dog that ate sticks and bit anything that moved, including me.The car broke down, the dog was hit by a pick-up and died and I did not deliver. The book was never published but Thank God I did not have to pay the advance back.Since then, I've been published many times,(not books.)It has been many ass-kicking years years since my big screw-up. Now, with one book done and another almost finished I am in query-for-an-agent-hell wondering if I should take up knitting.

Sally,thank you for your incite.

To all you young-uns out there heed her words, I just wish she was around when I went to buy my Caddy and Cojo.

Amy, tell yourself anything that gets you to keep writing. I pretty much don't read reviews any more because they mess with my head too much. Yes, we all need to develop a thick skin, but we also need to protect ourselves so we can keep creating.

Wry writer, I probably was around, pecking away at my electric typewriter as clueless as anyone--more clueless that most today as those were the years before the internet. I had a few "almost solds" when my kids were young and I was writing picture book texts--and then I quit writing for publication for about eight years when I was heavy into the carpool scene. I'm thinking very, very few, if any, writers have a smooth, straight path. As far as I can tell, there is no job security in this biz.

Amy Nichols said, on 6/1/2010 6:22:00 PM

Sally,

Thanks so much for the reminder. I'm trying to look at this as a business and start those "business habits" now with writing schedules and such.

I finished another client project! A custom-designed header for a website called Computer Savvy Granny. My client is an older woman who is really technically knowledgeable and gives advice to those that aren't. Check out her site!

The week-old editorial above caught my attention because it’s about how an illustration (which the National Post commissioned from Andrew Barr) went viral.

My shock came not when I saw the bigger-than-a-stomach cup, but when I read this line in the Post’s editorial:

The Starbucks graphic was an excellent learning experience for us, in that it was a perfect example of how editorial and graphics can maximize exposure by moving quickly to execute a great concept at the peak of popular interest.

“Learning experience?” Is the editorial staff saying they are just now learning the value and effectiveness of including strong, informative graphics with their stories in order to attract readers’ attention? Shouldn’t they already know this?? Isn’t this fairly basic to editorial publishing? To storytelling?

To the folks at the Post: my apologies if I got this wrong. It just concerns me, as a working illustrator, to think the good people who commission work from us seem to not grasp the full value of what we bring to the table.

0 Comments on nationalpost:
From @Tumblr to TV: How our #Starbucks ‘Trenta’... as of 1/1/1900

What a wonderful and hilarious account of farmer vs. rancher (and I say this as a small-scale homesteader type who's been known to watch RFD-TV...probably to the dismay and disbelief of my city friends who grew up with me). No wonder representing her makes you so happy!